It's time to play the music. It's time to light the lights. It's time to meet the Muppets. Those are the opening lines to the theme song for The Muppet Show, a 1970s television program that showcased the late Jim Henson's popular puppet creations. Those of you who were around back then had the privilege of viewing such amiable characters that were full of gusto. I wasn't around in the disco era; but being a child of the '90s, my appreciation for Kermit and the gang stemmed from some of their other feature films from back then, such as The Muppet Christmas Carol, Muppet Treasure Island and Muppets from Space.
In director James Bobin's nostalgic comedy, The Muppets, he revives the life that these puppets embraced and brings them back into the limelight that all of them, especially Miss Piggy, always strived for. After a 12-year hiatus from movie theaters, the Muppets make a cordial and musical return to the glorious land that is Hollywood.
Gary (Jason Segel) and Walter (voiced by Peter Linz) are brothers and the best of friends living in Smalltown, USA. Over their childhood years, Gary introduces his brother to The Muppet Show, and he instantly becomes their most devoted fan. They are now older, and Gary is in a relationship with his long-time girlfriend Mary (Amy Adams). When Gary treats Mary with a trip to the famed Muppet Studios in Los Angeles for their tenth anniversary, he decides to bring Walter along, who is elated for the opportunity. But his sense of joy is soon crushed when he overhears a greedy oil tycoon, Tex Richman (Chris Cooper), plans to demolish the dilapidated studios and convert it to a drilling site. Once Walter reveals this to Gary and Mary, they seek out Kermit, who then recruits them to help him find and reunite the Muppets. They soon devise a plan to host a telethon in their old theater to raise money and help save it from destruction.
After starring in several R-rated comedies and the hit show How I Met Your Mother, Jason Segel doesn't waste any time with this chance to broaden his appeal from adults to children. After being highly underused in this summer's comedy Bad Teacher, he returns to his affable charm that's reinforced by his interactions with the Muppets. Amy Adams, with her luminous disposition and voice as sweet as geloto, once again confirms herself to be one of film's most endowed starlets. Having Segel and Adams work together reminded me of a couple you would watch in a romantic movie-musical of the '50s or '60s. Being able to act, sing and dance, these love birds are triple threats.
There is a wealth of supporting roles and celebrity cameos. Chris Cooper is just enough of a kooky villain to make his character entertaining; but gratefully, he doesn't become too over-the-top and irritating. He is a dastardly oil magnate with a penchant for maniacal laughter. Rashida Jones plays the reluctant and daunting network executive who eventually gives the Muppets a chance to air their telethon. Alan Arkin is a bored-out-of-his-mind tour guide for the Muppet Studios. The always-reliably funny Jack Black makes an appearance, but as what, is a secret. Among the cameos, there is Sarah Silverman as a snide diner host; and Mickey Rooney, as a Smalltown, USA resident, adds a touch of classical Hollywood. I won't reveal any more visitors, but there is a fantastic bunch.
As wonderfully wide-ranging as the human cast is, the Muppets are the real stars of the show. Kermit the Frog, the amphibious leader of the pack, carries us back to our childhoods the moment he shows up in his first scene. His amorous partner, Miss Piggy, is as assertive as ever, and doesn't let anyone get in the way of what she wants, including the attention. Gonzo returns with his dangerous circus tricks and loyal chickens. Fozzie Bear is back with his scores of jokes and his characteristic catchphrase, "Wocka Wocka Wocka." Animal, the feral drummer returns with all of his anger issues. Statler and Waldorf are back on their balcony as the two old men who joyfully criticize whatever they are watching.
Thankfully, the filmmakers didn't feel the need to cram in too many new Muppets, despite their lengthy absence from the big screen. The latest additions, however, deserve their roles in Jim Henson's puppet squad. Walter is a young chap with hope in his heart and a pocket full of dreams. There is also a Muppets tribute band called "The Moopets." Think of them as a gang of anti-Muppets. Where the Muppets are on one side of the happiness spectrum, the Moopets are falling off the edge of the other side.
The film employs a colorful arrangement of original songs. The opening number, "Life's a Happy Song," is a cheery and upbeat musical ray of sunshine. "Pictures In My Head" is Kermit's sincere song of remembrance for the Muppets' former stardom. When not being paid attention to by their boyfriends, Amy Adams and Miss Piggy perform "Me Party," which is a fun song about enjoying the times when you're flying solo.
The Muppets also bring out some '80s and '90s hits. As they are restoring their theater to its previous splendor, they belt out Starship's "We Built This City." It is in this scene that we know the Muppets are back in action. At one point, the Muppets Barbershop Quartet croons Nirvana's "Smells Like Teen Spirit." But it's when you see Kermit on the stage with his banjo and company of friends singing their timeless tune, "Rainbow Connection," that your nostalgia reaches its zenith. Even if you have never seen The Muppet Show, you have probably heard this endearing showstopper at some point in your life. It will leave you happily teary-eyed and will melt your heart like butter on a hot piece of toast.
Although the plot bears some similarities to Disney's 2002 family film, The Country Bears, it has better quality with The Muppets. The crucial reason is that the latter movie involves characters that many people have come to love over the last few decades; whereas the former movie is just based on a non-too-memorable Disney World attraction.
The screenplay by Jason Segel and Nicholas Stoller, both of who scribed recent comedies such as Forgetting Sarah Marshall and Get Him to the Greek, show that they can create comical situations that can appeal to the children's crowd, but also keep their usual adult crowd as well. However, many of the jokes will resonate more with the 18-and-older audience members, since they are the age demographic that grew-up with the Muppets when they were still prominent in the pop culture scene.
Being fluent in the art of show business, The Muppets were never a group that lowered themselves to cheap, immature gags that were solely aimed at children. Everyone can celebrate with this welcome-back party for the Muppets, and there is a generous bouquet of laughs that can be reached by all viewers. This film also acts as an acceptable gateway for those younger moviegoers that are just beginning to get into the Muppets.
I can't remember the last time I smiled during an entire movie; but The Muppets delivered that feeling back to me, and it's that type of experience that makes going to the movies a remarkably joyous experience. For 90 minutes, I took a nostalgic trip back to my childhood. Having not watched this lively cast of characters for some time, I felt as though I was being introduced to them again, and it was a heart-tugging reunion. The Muppets have followed us into our adult years. We haven't forgotten about them, and it's clear they haven't forgotten about us.
Final grade: A-
Sunday, November 27, 2011
Thursday, October 20, 2011
A Young Girl's Imaginary "Friend," and Fear That's Anything But
I've never been to a midnight premiere before, because I'm always nervous about falling asleep during the movie. When I go to the movies, I love to immerse myself into what I'm watching; and I don't have any intention on dozing off. But it's a bit of a challenge to have forty winks when your heart is in danger of erupting from your chest like the chestburster in Alien. As your heart rate increases, you are on full alert of what's happening on screen.
For a pre-Halloween festivity, I jumped at the chance to attend a midnight showing of the new found-footage horror film, Paranormal Activity 3, directed by Ariel Schulman and Henry Joost. What first started out as a modest ghost story with a shoe-string budget has now generated a madly popular horror trilogy, with each installment successfully topping each other. This one, however, goes a scare beyond and does some significant anxiety amplification.
As a prequel to the previous two films, this third entry takes place 18 years prior in 1988. We see Katie (Katie Featherston of PA 1 and PA 2) and Kristi (Sprague Grayden of PA 2) as sisters at a younger age. They are portrayed by Chloe Csengery, who plays Katie, and Jessica Tyler Brown, who plays Kristi. When Kristi begins talking to her imaginary friend Toby, bizarre things begin to happen throughout their home. Her father Dennis (Christopher Nicholas Smith) decides to set up cameras in several rooms to try and find some ghostly activity, and her mother Julie (Lauren Bittner) decides to dismiss Kristi's behavior as normal for a child. But when Toby begins to harass the family with spooky and dangerous actions, their seemingly ordinary life starts to turn into a nightmare that grows bigger with each passing day.
The forte of the film, as with the previous two, is its effective use of camerawork to derive much of its terror. There are three camcorders that are set up in the house, one of which is in the parents' bedroom and another one being in the daughters' bedroom. But the placing of the third camcorder is one that strikes you with the most trepidation. It's placed on the base of an oscillating fan in the living room, and it's view tracks back and forth from the dining room to the kitchen. The suspense piles on as it goes from room to room; and we sit frozen in the theater, not knowing what will be waiting for us when the fan goes back to the kitchen or the living room.
The movie, in some instances, utilizes offscreen space to add to its eerie atmosphere. On a few of the nights when we see the daughters' bedroom, Kristi wakes up, goes to the corner of the screen and talks to Toby. The demon is out of the frame, so we can't see him as she's talking to him, nor do we ever actually see the demon in these films. But, we can tell that Toby is visible to Kristi, and he's definitely there in her room at that time.
You hear a lot of people referring to an exciting story as a "roller coaster ride." That comparison is often overused, but it certainly works for this film. Every scene is, in fact, like a roller coaster ride. At the beginning of each one, we'll ascend as we wait in frightened anticipation for the inevitable jolt-moment. We can't really tell when the top of the hill will come, because the big "Boo!" can arrive at any instant. But when it does, we as an audience scream together as we immediately descend. Then, we are thrown for a loop at the grandly bloodcurdling finale that is always the supreme scare for all three movies.
Two years ago when I saw the first Paranormal Activity, I had trouble believing that the filmmakers could make a sequel without spitting on the original. They ended up making a prequel that not only topped the first, but also lived up to the mythology that was established by the first film. Then, after viewing Paranormal Activity 2 a year ago, I had even more difficulty thinking that a third film could be made, especially after the sense of closure we had at the end. Now, I can say that after seeing Paranormal Activity 3, I can eat my own skepticism. The screenplay by Christopher B. Landon ties well into the previous two movies and answers many questions that, until now, have remained a supernatural mystery. It brings this trilogy-in-reverse to a full finish. Hopefully this time next year, I'm not lamenting this horror series being tarnished by a needless fourth movie. I think it's time for the demon to pack his bags and move on, because he has given us enough enjoyably nerve-piercing scares to be thankful for.
Final grade: A-
For a pre-Halloween festivity, I jumped at the chance to attend a midnight showing of the new found-footage horror film, Paranormal Activity 3, directed by Ariel Schulman and Henry Joost. What first started out as a modest ghost story with a shoe-string budget has now generated a madly popular horror trilogy, with each installment successfully topping each other. This one, however, goes a scare beyond and does some significant anxiety amplification.
As a prequel to the previous two films, this third entry takes place 18 years prior in 1988. We see Katie (Katie Featherston of PA 1 and PA 2) and Kristi (Sprague Grayden of PA 2) as sisters at a younger age. They are portrayed by Chloe Csengery, who plays Katie, and Jessica Tyler Brown, who plays Kristi. When Kristi begins talking to her imaginary friend Toby, bizarre things begin to happen throughout their home. Her father Dennis (Christopher Nicholas Smith) decides to set up cameras in several rooms to try and find some ghostly activity, and her mother Julie (Lauren Bittner) decides to dismiss Kristi's behavior as normal for a child. But when Toby begins to harass the family with spooky and dangerous actions, their seemingly ordinary life starts to turn into a nightmare that grows bigger with each passing day.
The forte of the film, as with the previous two, is its effective use of camerawork to derive much of its terror. There are three camcorders that are set up in the house, one of which is in the parents' bedroom and another one being in the daughters' bedroom. But the placing of the third camcorder is one that strikes you with the most trepidation. It's placed on the base of an oscillating fan in the living room, and it's view tracks back and forth from the dining room to the kitchen. The suspense piles on as it goes from room to room; and we sit frozen in the theater, not knowing what will be waiting for us when the fan goes back to the kitchen or the living room.
The movie, in some instances, utilizes offscreen space to add to its eerie atmosphere. On a few of the nights when we see the daughters' bedroom, Kristi wakes up, goes to the corner of the screen and talks to Toby. The demon is out of the frame, so we can't see him as she's talking to him, nor do we ever actually see the demon in these films. But, we can tell that Toby is visible to Kristi, and he's definitely there in her room at that time.
You hear a lot of people referring to an exciting story as a "roller coaster ride." That comparison is often overused, but it certainly works for this film. Every scene is, in fact, like a roller coaster ride. At the beginning of each one, we'll ascend as we wait in frightened anticipation for the inevitable jolt-moment. We can't really tell when the top of the hill will come, because the big "Boo!" can arrive at any instant. But when it does, we as an audience scream together as we immediately descend. Then, we are thrown for a loop at the grandly bloodcurdling finale that is always the supreme scare for all three movies.
Two years ago when I saw the first Paranormal Activity, I had trouble believing that the filmmakers could make a sequel without spitting on the original. They ended up making a prequel that not only topped the first, but also lived up to the mythology that was established by the first film. Then, after viewing Paranormal Activity 2 a year ago, I had even more difficulty thinking that a third film could be made, especially after the sense of closure we had at the end. Now, I can say that after seeing Paranormal Activity 3, I can eat my own skepticism. The screenplay by Christopher B. Landon ties well into the previous two movies and answers many questions that, until now, have remained a supernatural mystery. It brings this trilogy-in-reverse to a full finish. Hopefully this time next year, I'm not lamenting this horror series being tarnished by a needless fourth movie. I think it's time for the demon to pack his bags and move on, because he has given us enough enjoyably nerve-piercing scares to be thankful for.
Final grade: A-
Tuesday, October 11, 2011
A Little Bit of Laughter is the Best Medicine
It's an unfortunate and well-known truth that cancer, no matter what kind, affects millions all over the world. Not just those that are stricken ill, but their loved ones as well. Many try their best to take it in stride; but for others, it's a little harder. It's important to know that even when times might seem the toughest, it's how the person takes control of the situation that can help him or her choose how to live life and find the much sought after silver lining. This is what Adam (Joseph Gordon-Levitt) must comprehend in director Jonathan Levine's dramedy 50/50, a film that takes a semi-lighthearted approach to a relatable and serious topic.
Adam is living a normal life and loves his job at the local radio station. When he begins to experience some back pains, he decides to go to his doctor and find out the cause of the trouble. The doctor tells Adam that he has a very rare form of cancer, to which there are limited options for treatment. Once he reveals this to his family and friends, including his pal and co-worker Kyle (Seth Rogen), his questionable girlfriend Rachael (Bryce Dallas Howard) and his mother (Anjelica Huston), they all try to help him out and figure what's best for him. In the meantime, Adam begins to attend sessions with a young psychologist Katie (Anna Kendrick) who tries to help him to better understand and live with the situation he has been thrown into.
Joseph Gordon-Levitt brings out the audience's understanding for him trying to be an ordinary guy that gets hit with this life-changing event that he doesn't have any control over. When given the startling news of his illness, he responds with, "That doesn't make any sense though. I mean...I don't smoke, I don't drink...I recycle..." His stunned reaction shows how unexpected something like this could happen to anyone, even if you have a good health record. The nonchalant attitude that he tries to feel in light of the circumstances gives a greater emotional punch, because we know there's a storm cloud behind the false expressions of his seemingly carefree exterior. We want to reach out to him and let him know that everything will be alright. But like him, we don't know for sure if it will be. What's happening to Adam is something that many are experiencing, and that's what makes his character worthy to bond with.
One especially resonant and empowering scene is when Adam decides to shave his head, before the cancer gets to it first. It's a sign that he's not going to be a victim to this illness. Rather, he's going to be a fighter.
Seth Rogen is his usual goofy self as Kyle, Adam's loud and foul-mouthed best friend. Kyle tries to help him by sharing his "embrace the moment and have fun" philosophy, which is something that Adam is in great need of at the time. Although his use of Adam's current condition as a means to pick up women for the two of them can come off as selfish, you can tell he has Adam's best interests at heart and wants to provide some merriment to take Adam's mind off his ailment. He tries to have Adam look on the bright side of things throughtout the film. At one point, he reassures Adam with his 50/50 chance of survival by saying, "If you were a casino game, you'd have the best odds." In one scene right before the end, you see how much Kyle sincerely cares for his friend.
Anna Kendrick is, and still remains, a natural-born scene-stealer. She has considerable screen presence, and there's something about her acting style that leaves an impression and charm on the viewer after each of her scenes. Anjelica Huston, as Adam's mother, gives the reasonably smothering love and care that any parent would give to their child in a time of crisis. Philip Baker Hall and Matt Frewer bring more of the film's comic relief, outside of Seth Rogen, as jokester cancer patients who Adam befriends.
Director Jonathan Levine and screenwriter Will Reiser, the latter whose life the story is loosely based on, treats the material sensitively. They add just enough humor to make it tasteful; but they don't forget that the film also needs the drama to reaffirm the audience that this is a realistic situation with a young life at stake. The characters are written and acted believably in how they each react to Adam's circumstance and help him navigate through an uncertain time after his life takes a sudden left turn. 50/50 fully transcends the typical "disease of the week" kind of film, and is instead a celebration of the familial and friendship bonds that can be as healing as any medicinal treatment.
Final grade: A
Adam is living a normal life and loves his job at the local radio station. When he begins to experience some back pains, he decides to go to his doctor and find out the cause of the trouble. The doctor tells Adam that he has a very rare form of cancer, to which there are limited options for treatment. Once he reveals this to his family and friends, including his pal and co-worker Kyle (Seth Rogen), his questionable girlfriend Rachael (Bryce Dallas Howard) and his mother (Anjelica Huston), they all try to help him out and figure what's best for him. In the meantime, Adam begins to attend sessions with a young psychologist Katie (Anna Kendrick) who tries to help him to better understand and live with the situation he has been thrown into.
Joseph Gordon-Levitt brings out the audience's understanding for him trying to be an ordinary guy that gets hit with this life-changing event that he doesn't have any control over. When given the startling news of his illness, he responds with, "That doesn't make any sense though. I mean...I don't smoke, I don't drink...I recycle..." His stunned reaction shows how unexpected something like this could happen to anyone, even if you have a good health record. The nonchalant attitude that he tries to feel in light of the circumstances gives a greater emotional punch, because we know there's a storm cloud behind the false expressions of his seemingly carefree exterior. We want to reach out to him and let him know that everything will be alright. But like him, we don't know for sure if it will be. What's happening to Adam is something that many are experiencing, and that's what makes his character worthy to bond with.
One especially resonant and empowering scene is when Adam decides to shave his head, before the cancer gets to it first. It's a sign that he's not going to be a victim to this illness. Rather, he's going to be a fighter.
Seth Rogen is his usual goofy self as Kyle, Adam's loud and foul-mouthed best friend. Kyle tries to help him by sharing his "embrace the moment and have fun" philosophy, which is something that Adam is in great need of at the time. Although his use of Adam's current condition as a means to pick up women for the two of them can come off as selfish, you can tell he has Adam's best interests at heart and wants to provide some merriment to take Adam's mind off his ailment. He tries to have Adam look on the bright side of things throughtout the film. At one point, he reassures Adam with his 50/50 chance of survival by saying, "If you were a casino game, you'd have the best odds." In one scene right before the end, you see how much Kyle sincerely cares for his friend.
Anna Kendrick is, and still remains, a natural-born scene-stealer. She has considerable screen presence, and there's something about her acting style that leaves an impression and charm on the viewer after each of her scenes. Anjelica Huston, as Adam's mother, gives the reasonably smothering love and care that any parent would give to their child in a time of crisis. Philip Baker Hall and Matt Frewer bring more of the film's comic relief, outside of Seth Rogen, as jokester cancer patients who Adam befriends.
Director Jonathan Levine and screenwriter Will Reiser, the latter whose life the story is loosely based on, treats the material sensitively. They add just enough humor to make it tasteful; but they don't forget that the film also needs the drama to reaffirm the audience that this is a realistic situation with a young life at stake. The characters are written and acted believably in how they each react to Adam's circumstance and help him navigate through an uncertain time after his life takes a sudden left turn. 50/50 fully transcends the typical "disease of the week" kind of film, and is instead a celebration of the familial and friendship bonds that can be as healing as any medicinal treatment.
Final grade: A
Saturday, October 8, 2011
A Road to the White House That's Paved With Scandal
How well do we know our politicians? Hopefully well enough, since we trust them with our nation's future. Will they keep their promises to their voters? Or are they lying through their television-friendly white teeth? It's not a complete shocker that as much as we do know about them can be equal to what remains in the dark about them. George Clooney, who himself is very involved in government matters, directs and stars in The Ides of March, a twisty political drama that pulls back the voting booth curtain on the dirty secrets and dealings that can occur on the campaign trail.
Stephen Meyers (Ryan Gosling) is a young, hot-shot campaign manager for Governor Mike Morris (George Clooney). When the race for the Presidency's Democratic nomination brings the group to Ohio, they realize that how well they do there could make or break Morris's chances at winning the nomination. When the opposing Democratic hopeful's campaign manager Tom Duffy(Paul Giamatti) witnesses Meyers skills, Tom encourages him to switch over to his side. When Meyers neglects to notify his boss Paul Zara (Philip Seymour Hoffman) about the meeting, Paul fires him. Fueled with anger, Meyers plans to join Duffy and use a career-damaging secret of Governor Morris against him.
The film's cast emanates the heated tension that causes opposing sets of morals to ignite sparks on the campaign trail. Ryan Gosling fluently synthesizes suave with political smarts. He's a flirtatious guy who knows how to work a girl as well as he works a campaign. His character, like anyone, easily gives in to flattery, which is his undoing and sets the film's events into ominous action. George Clooney brings his passionate political attitudes to his role, and it's conclusively visible that he's incorporating his love of these ideals in the film. His character almost mirrors how he is in reality. We basically see two Clooney's in the film: Clooney the actor, and Clooney the politician.
Paul Giamatti is the essence of an unfair political game as the manipulative and deceitful Tom Duffy. Philip Seymour Hoffman is entirely different from Duffy as Meyers's boss who values loyalty over everything else. The two are as opposite as Republicans are to Democrats. The youthful and gorgeous Evan Rachel Wood is impressive as a campaign intern who catches Gosling's eye. She is thrown into a tough adult world when a life-altering secret of her's is revealed; and her playfulness turns to desperation as quickly as an undecided voter's choice in an election. And Marisa Tomei does a lot with a little as the pesky New York Times reporter who always gets the scoop.
Clooney is certainly not an outsider to political cinema. He has dabbled in it twice back in 2005 when he starred in Syriana and Good Night, and Good Luck, the latter of which he also directed, and received awards and nominations for both projects. It doesn't matter if you agree or disagree with his political views. You have to appreciate his fervor for politics and film and his gift for uniting them into sharp, stimulating stories.
The screenplay by George Clooney, Grant Heslov and Beau Willimon is based on the latter's 2008 play Farragut North. The first half hour of the film is mainly for the fleshing-out of what Clooney's role is as a candidate, his policies and the current status of his campaign. So the movie takes some time to get started because of that. But when a major plot revelation about one of the character's is exposed, the movie spikes to life. It becomes a web of scandal, blackmail, corruption and revenge, where some people aren't who them seem to be. Political films, mercifully, tend to leave out all of the tiresome mudslinging between candidates that we watch on television. The Ides of March spares us all of that as well, and serves us an intelligently engaging story. It has my vote.
Final grade: A-
Stephen Meyers (Ryan Gosling) is a young, hot-shot campaign manager for Governor Mike Morris (George Clooney). When the race for the Presidency's Democratic nomination brings the group to Ohio, they realize that how well they do there could make or break Morris's chances at winning the nomination. When the opposing Democratic hopeful's campaign manager Tom Duffy(Paul Giamatti) witnesses Meyers skills, Tom encourages him to switch over to his side. When Meyers neglects to notify his boss Paul Zara (Philip Seymour Hoffman) about the meeting, Paul fires him. Fueled with anger, Meyers plans to join Duffy and use a career-damaging secret of Governor Morris against him.
The film's cast emanates the heated tension that causes opposing sets of morals to ignite sparks on the campaign trail. Ryan Gosling fluently synthesizes suave with political smarts. He's a flirtatious guy who knows how to work a girl as well as he works a campaign. His character, like anyone, easily gives in to flattery, which is his undoing and sets the film's events into ominous action. George Clooney brings his passionate political attitudes to his role, and it's conclusively visible that he's incorporating his love of these ideals in the film. His character almost mirrors how he is in reality. We basically see two Clooney's in the film: Clooney the actor, and Clooney the politician.
Paul Giamatti is the essence of an unfair political game as the manipulative and deceitful Tom Duffy. Philip Seymour Hoffman is entirely different from Duffy as Meyers's boss who values loyalty over everything else. The two are as opposite as Republicans are to Democrats. The youthful and gorgeous Evan Rachel Wood is impressive as a campaign intern who catches Gosling's eye. She is thrown into a tough adult world when a life-altering secret of her's is revealed; and her playfulness turns to desperation as quickly as an undecided voter's choice in an election. And Marisa Tomei does a lot with a little as the pesky New York Times reporter who always gets the scoop.
Clooney is certainly not an outsider to political cinema. He has dabbled in it twice back in 2005 when he starred in Syriana and Good Night, and Good Luck, the latter of which he also directed, and received awards and nominations for both projects. It doesn't matter if you agree or disagree with his political views. You have to appreciate his fervor for politics and film and his gift for uniting them into sharp, stimulating stories.
The screenplay by George Clooney, Grant Heslov and Beau Willimon is based on the latter's 2008 play Farragut North. The first half hour of the film is mainly for the fleshing-out of what Clooney's role is as a candidate, his policies and the current status of his campaign. So the movie takes some time to get started because of that. But when a major plot revelation about one of the character's is exposed, the movie spikes to life. It becomes a web of scandal, blackmail, corruption and revenge, where some people aren't who them seem to be. Political films, mercifully, tend to leave out all of the tiresome mudslinging between candidates that we watch on television. The Ides of March spares us all of that as well, and serves us an intelligently engaging story. It has my vote.
Final grade: A-
Monday, September 26, 2011
For the Love of the Game
Director Bennett Miller opens his behind-the-scenes baseball drama, Moneyball, with a quote from one of the game's all-time greats, Mickey Mantle: "It's unbelievable how much you don't know about the game you've been playing all your life." After reading it, skepticism might take hold and have you asking, "How could this prodigy think that he doesn't know a lot about baseball?" 15 minutes into the film, you'll realize there's a whole other side to America's greatest pastime that has remained unnoticed, even by hard core sports fanatics. Instead of sitting in a stadium eating a Ball Park Frank, you'll be in a movie theater getting acquainted with the curious inner workings of this ageless game.
Billy Beane (Brad Pitt) is the general manager of the Oakland Athletics who's at the end of his rope. His team suffers a loss in a 2001 postseason game against the New York Yankees, three of his top players have become free agents due to expired contracts, and he can't afford any good replacements. Beane soon recruits the help of a Yale graduate in economic studies named Peter Brand (Jonah Hill) who has an innovative process on how to find the values in less expensive players that scouts would fail to notice. While attempting to get his team off the ground, Billy also tries to provide for his daughter Casey (Kerris Dorsey) while on a limited budget. As other people working in baseball continue to express their doubts about the future of the Oakland Athletics, Billy will show them how this new system could very well be a game-changer.
Brad Pitt's portrayal of Billy Beane is the high-flying grand slam that helps this film to score its home run. Just like a World Series game, it's exhilarating to watch. The way his character does a balancing act between being a committed coach and an affectionate father speaks a lot about Billy's priorities. One of the finest qualities of his character is that he never mopes around and feels bad about himself for being divorced, and doesn't let it cloud his mind. Billy accepts it and concentrates on the tasks at hand. His life on the field and at home are both in his view, and this translates into Pitt mastering both sides of Billy, making this one of the optimum performances of his still flourishing career.
Jonah Hill acts as Pitt's character's reassurance, promising Billy the benefits of using Peter's way of picking specific players and finding their values that have gone overlooked. His role as Peter is Billy's beginner's-guide to the system that will carry his team further than they would have ever anticipated. Hill still has that timidity in his character that we've seen in some of his other roles; but he keeps his Jonah Hill-isms to a minimum, and still manages to make us laugh on occasions when it's called for. He's just a regular guy who becomes a piece in the changing of this celebrated game.
Of course, the story focuses on the actual baseball games. But that's not entirely what the movie is about. It's about what happens backstage that's the point of intrigue in the film. How we see the science behind the figuring-out of baseball statistics makes this film as much a learning experience as it does a viewing one. Archival footage of past ball games are shown at certain points in Moneyball, and they are used to rich effect. It brings us into realization that in baseball, there is what we see on the field as spectators; but there is also what we don't see that goes on outside of the game.
Steven Zaillian's and Aaron Sorkin's screenplay, based on the 2003 book, Moneyball: The Art of Winning an Unfair Game by Michael Lewis, completely throws you into the sport. I don't watch baseball; but even if you're not a fan of the sport, I can assure you that you won't feel that same lack of interest when you experience this film. In the end, you come out of the theater with a better understanding of the game than you had walking in. It's a sports movie that's both the same as others and different from others. It has the common plotline of the coach striving for the best in his team; but it has the revealing aspect of the statistical method that was used to make a better team. The script doesn't get sidetracked with cheap sentimentality of Billy trying to get back with his wife Tara (Kathryn Morris). In fact, they only have one scene together. The story is all focused on a man trying to support his daughter, guide his team to victory and undertake a dream unfulfilled. So do as the song says, and take yourself out to this ball game.
Final grade: A
Billy Beane (Brad Pitt) is the general manager of the Oakland Athletics who's at the end of his rope. His team suffers a loss in a 2001 postseason game against the New York Yankees, three of his top players have become free agents due to expired contracts, and he can't afford any good replacements. Beane soon recruits the help of a Yale graduate in economic studies named Peter Brand (Jonah Hill) who has an innovative process on how to find the values in less expensive players that scouts would fail to notice. While attempting to get his team off the ground, Billy also tries to provide for his daughter Casey (Kerris Dorsey) while on a limited budget. As other people working in baseball continue to express their doubts about the future of the Oakland Athletics, Billy will show them how this new system could very well be a game-changer.
Brad Pitt's portrayal of Billy Beane is the high-flying grand slam that helps this film to score its home run. Just like a World Series game, it's exhilarating to watch. The way his character does a balancing act between being a committed coach and an affectionate father speaks a lot about Billy's priorities. One of the finest qualities of his character is that he never mopes around and feels bad about himself for being divorced, and doesn't let it cloud his mind. Billy accepts it and concentrates on the tasks at hand. His life on the field and at home are both in his view, and this translates into Pitt mastering both sides of Billy, making this one of the optimum performances of his still flourishing career.
Jonah Hill acts as Pitt's character's reassurance, promising Billy the benefits of using Peter's way of picking specific players and finding their values that have gone overlooked. His role as Peter is Billy's beginner's-guide to the system that will carry his team further than they would have ever anticipated. Hill still has that timidity in his character that we've seen in some of his other roles; but he keeps his Jonah Hill-isms to a minimum, and still manages to make us laugh on occasions when it's called for. He's just a regular guy who becomes a piece in the changing of this celebrated game.
Of course, the story focuses on the actual baseball games. But that's not entirely what the movie is about. It's about what happens backstage that's the point of intrigue in the film. How we see the science behind the figuring-out of baseball statistics makes this film as much a learning experience as it does a viewing one. Archival footage of past ball games are shown at certain points in Moneyball, and they are used to rich effect. It brings us into realization that in baseball, there is what we see on the field as spectators; but there is also what we don't see that goes on outside of the game.
Steven Zaillian's and Aaron Sorkin's screenplay, based on the 2003 book, Moneyball: The Art of Winning an Unfair Game by Michael Lewis, completely throws you into the sport. I don't watch baseball; but even if you're not a fan of the sport, I can assure you that you won't feel that same lack of interest when you experience this film. In the end, you come out of the theater with a better understanding of the game than you had walking in. It's a sports movie that's both the same as others and different from others. It has the common plotline of the coach striving for the best in his team; but it has the revealing aspect of the statistical method that was used to make a better team. The script doesn't get sidetracked with cheap sentimentality of Billy trying to get back with his wife Tara (Kathryn Morris). In fact, they only have one scene together. The story is all focused on a man trying to support his daughter, guide his team to victory and undertake a dream unfulfilled. So do as the song says, and take yourself out to this ball game.
Final grade: A
Saturday, September 24, 2011
Close encounters of the diseased kind
The wondrous thing about cinema is that it can conjure up our wildest dreams on the movie theater canvas. The haunting part of it is that it can also bring us perilously close to our greatest fears. As the rule of thumb would be for the scare factor of film: It's what we can't see that's most frightening. In Steven Soderbergh's epidemic drama Contagion, he unleashes what is invisible to us but what comes into contact with us everyday: germs. They are a living example of size doesn't matter, known to decimate entire civilizations. These micro-dangers prepare for attack once again in this too-close-for-comfort thriller.
When Beth Emhoff (Gwyneth Paltrow) returns to her Minneapolis suburb after a business trip to Hong Kong, everything seems normal. A couple of days later, her husband Mitch (Matt Damon) has to rush her to the hospital after she suffers a seizure. After she succumbs to the mysterious illness, Mitch must help his family survive a society where chaos is at the threshold. Meanwhile, Dr. Ellis Cheever (Laurence Fishburne) of the Center for Disease Control and Prevention and Epidemic Intelligence Service officer Dr. Erin Mears (Kate Winslet) try to make necessary precautions to prevent further infection amongst the world's population. At the same time, epidemiologist Dr. Leonora Orantes (Marion Cotillard) is sent to Hong Kong to trace the outbreak back to its source. In the background, blogger Alan Krumwiede (Jude Law) is trying to gain some information that he believes the government is withholding.
The roles in this film aren't particularly demanding; but having Oscar winners and nominees occupy them give the performances a little something extra and prevent them from being so-so. Each of them knows how much to put into their part, and they don't feel the need to overact, despite being involved in other projects that might have required more work, acting wise.
Some roles, however, have a little more oomph than others in the movie. Matt Damon asserts his character's fatherly approach with tenacity as he tries to protect what's left of his family in a world thrown into a sudden crisis. Jude Law's performance brings to light how the issue of blogging vs. the "dying" print media are portrayed in a situation where everyone is clamoring to hear the truth of what world leaders are doing to help them through a calamity. One minor character goes as far to say that blogging is just "graffiti with punctuation." Law commands his scenes as he inquires the government, particularly in one scene when he faces-off with Laurence Fishburne's character on a news show. It's appropriate that Damon's and Law's roles are the primary two of Contagion, reflecting how the public outside of doctors and the government should either protect their loved ones or ask questions, not loot and cause disorder. Their characters, however, are also prone to some irrational behavior, just like everyone else in a period of bedlam.
Contagion isn't essentially a horror film, but it does have the horror movie aspect for creating the fear of something real. In this case, disease. The film doesn't have the audience shout things like, "Don't go in there!" or "Look out behind you!" Instead, we're influenced to shout, "Don't touch that doorknob!" The close-ups of contaminated surfaces and infected individuals are enough to make you want to shield yourself from people in crowded areas, or wear rubber gloves when shaking someone's hand.
This is the second time that director Soderbergh has collaborated with screenwriter Scott Z. Burns. The first time being two years ago when Burns wrote the screenplay for The Informant!, which Soderbergh helmed as director. Burns's script shifts between several different storylines, which Soderbergh knows how to competently handle, since he directed the multi-story 2000 film, Traffic. With these interlocking accounts, we can see how the public, the Center for Disease Control and the World Health Organization react to this increasing danger. The situation is exposed on all sides, from the ordinary citizens to the medical professionals. Soderbergh labels the days for us as they go by. For each passing day, we grow increasingly anxious with wondering if a cure will be found before the unknown pathogen claims another million lives.
Contagion will likely make you point it out for being similar to 1995's Outbreak, and it is. But as long as there's a reliable cast and crew behind the project with something novel to mix into the formula, it should still work like an antibody against complete copycatting. If you want to know the effectiveness of the film, I'll tell you this: You might want to refill your Purell bottle more often, just in case.
Final grade: B+
When Beth Emhoff (Gwyneth Paltrow) returns to her Minneapolis suburb after a business trip to Hong Kong, everything seems normal. A couple of days later, her husband Mitch (Matt Damon) has to rush her to the hospital after she suffers a seizure. After she succumbs to the mysterious illness, Mitch must help his family survive a society where chaos is at the threshold. Meanwhile, Dr. Ellis Cheever (Laurence Fishburne) of the Center for Disease Control and Prevention and Epidemic Intelligence Service officer Dr. Erin Mears (Kate Winslet) try to make necessary precautions to prevent further infection amongst the world's population. At the same time, epidemiologist Dr. Leonora Orantes (Marion Cotillard) is sent to Hong Kong to trace the outbreak back to its source. In the background, blogger Alan Krumwiede (Jude Law) is trying to gain some information that he believes the government is withholding.
The roles in this film aren't particularly demanding; but having Oscar winners and nominees occupy them give the performances a little something extra and prevent them from being so-so. Each of them knows how much to put into their part, and they don't feel the need to overact, despite being involved in other projects that might have required more work, acting wise.
Some roles, however, have a little more oomph than others in the movie. Matt Damon asserts his character's fatherly approach with tenacity as he tries to protect what's left of his family in a world thrown into a sudden crisis. Jude Law's performance brings to light how the issue of blogging vs. the "dying" print media are portrayed in a situation where everyone is clamoring to hear the truth of what world leaders are doing to help them through a calamity. One minor character goes as far to say that blogging is just "graffiti with punctuation." Law commands his scenes as he inquires the government, particularly in one scene when he faces-off with Laurence Fishburne's character on a news show. It's appropriate that Damon's and Law's roles are the primary two of Contagion, reflecting how the public outside of doctors and the government should either protect their loved ones or ask questions, not loot and cause disorder. Their characters, however, are also prone to some irrational behavior, just like everyone else in a period of bedlam.
Contagion isn't essentially a horror film, but it does have the horror movie aspect for creating the fear of something real. In this case, disease. The film doesn't have the audience shout things like, "Don't go in there!" or "Look out behind you!" Instead, we're influenced to shout, "Don't touch that doorknob!" The close-ups of contaminated surfaces and infected individuals are enough to make you want to shield yourself from people in crowded areas, or wear rubber gloves when shaking someone's hand.
This is the second time that director Soderbergh has collaborated with screenwriter Scott Z. Burns. The first time being two years ago when Burns wrote the screenplay for The Informant!, which Soderbergh helmed as director. Burns's script shifts between several different storylines, which Soderbergh knows how to competently handle, since he directed the multi-story 2000 film, Traffic. With these interlocking accounts, we can see how the public, the Center for Disease Control and the World Health Organization react to this increasing danger. The situation is exposed on all sides, from the ordinary citizens to the medical professionals. Soderbergh labels the days for us as they go by. For each passing day, we grow increasingly anxious with wondering if a cure will be found before the unknown pathogen claims another million lives.
Contagion will likely make you point it out for being similar to 1995's Outbreak, and it is. But as long as there's a reliable cast and crew behind the project with something novel to mix into the formula, it should still work like an antibody against complete copycatting. If you want to know the effectiveness of the film, I'll tell you this: You might want to refill your Purell bottle more often, just in case.
Final grade: B+
Monday, August 29, 2011
An Irishman and an American walk into a crime scene...
...That would be quite the beginning to a joke. What would be the punchline? I couldn't tell you that, since it's not really a joke. Well, not until someone else creates one out if this. What we do have with this, however, is the premise of director John Michael McDonagh's dark comedy, The Guard, which tells the story of two mismatched crime stoppers, with one being from the 50 states, and the other being from the Emerald Isle.
Buddy-comedies involving cops can go one of two ways: either they can both handle situations with a mutual understanding, or they can have their own ways of solving them. It most certainly makes for a better narrative to have the latter choice for a movie, which is what McDonagh's film explores in a violent, yet joyfully amusing and original yarn.
Sergeant Gerry Boyle (Brendan Gleeson) is an experienced and tough policeman in Ireland who has seen enough over the years to not become fazed by the brutality of criminals. He's a foul-mouthed racist who likes things to be done his way, and doesn't know anything outside of his home country. Gerry soon experiences an episode of culture clash when an FBI agent from the United States, Wendell Everett (Don Cheadle), travels to Ireland with his squad in order to investigate a murder inside a drug smuggling gang, headed by Clive Cornell (Mark Strong). As they get deeper into the case, the two will have to navigate through blackmails, briberies and killings so they can catch their culprits.
The draw to Gleeson's character is that although he can be very uncouth at times, he's still a lovable guy. He's just a simple, everyday man trying to do his duty as a community protector, while also caring for his ailing, yet cheerful mother (Fionnula Flanagan). Gleeson has you laughing and gasping at his rudeness in one scene, and then he will have you sympathizing with him in another as he spends his mother's final days with her. We're able to see two sides to his life: that of the police precinct, and that of his personal life when being a thoughtful son and wanting a family of his own.
The fish-out-of-water aspect of the story is strengthened by the fact that Don Cheadle is the only American actor in the film. When he and Gleeson are together, it's highly satisfying to watch them interact and see how different their roles are. Their are some very funny exchanges between the two of them when Gleeson says some stereotypical comments and when Cheadle corrects him. They remind you of lab partners in school who are assigned to work together, but aren't able to do so until they find some common ground.
The screenplay, written by the director, is unique in the way that it shifts the cop-comedy genre overseas. So in this case, the two law enforcers aren't just different in their personalities like in other films of its kind; but they are different in their backgrounds as well. Gleeson and Cheadle work it to its full uproarious effect. Seeing as the plot involved drug smuggling and bribery, it could have been more interesting with some intricacies; but the chemistry between the two leads is enough to make you forgive the few faults. As Gleeson's character can surely tell you, crime doesn't pay; but it's undoubtedly worth it to pay a few dollars to watch this unusual cop in action.
Final grade: A-
Buddy-comedies involving cops can go one of two ways: either they can both handle situations with a mutual understanding, or they can have their own ways of solving them. It most certainly makes for a better narrative to have the latter choice for a movie, which is what McDonagh's film explores in a violent, yet joyfully amusing and original yarn.
Sergeant Gerry Boyle (Brendan Gleeson) is an experienced and tough policeman in Ireland who has seen enough over the years to not become fazed by the brutality of criminals. He's a foul-mouthed racist who likes things to be done his way, and doesn't know anything outside of his home country. Gerry soon experiences an episode of culture clash when an FBI agent from the United States, Wendell Everett (Don Cheadle), travels to Ireland with his squad in order to investigate a murder inside a drug smuggling gang, headed by Clive Cornell (Mark Strong). As they get deeper into the case, the two will have to navigate through blackmails, briberies and killings so they can catch their culprits.
The draw to Gleeson's character is that although he can be very uncouth at times, he's still a lovable guy. He's just a simple, everyday man trying to do his duty as a community protector, while also caring for his ailing, yet cheerful mother (Fionnula Flanagan). Gleeson has you laughing and gasping at his rudeness in one scene, and then he will have you sympathizing with him in another as he spends his mother's final days with her. We're able to see two sides to his life: that of the police precinct, and that of his personal life when being a thoughtful son and wanting a family of his own.
The fish-out-of-water aspect of the story is strengthened by the fact that Don Cheadle is the only American actor in the film. When he and Gleeson are together, it's highly satisfying to watch them interact and see how different their roles are. Their are some very funny exchanges between the two of them when Gleeson says some stereotypical comments and when Cheadle corrects him. They remind you of lab partners in school who are assigned to work together, but aren't able to do so until they find some common ground.
The screenplay, written by the director, is unique in the way that it shifts the cop-comedy genre overseas. So in this case, the two law enforcers aren't just different in their personalities like in other films of its kind; but they are different in their backgrounds as well. Gleeson and Cheadle work it to its full uproarious effect. Seeing as the plot involved drug smuggling and bribery, it could have been more interesting with some intricacies; but the chemistry between the two leads is enough to make you forgive the few faults. As Gleeson's character can surely tell you, crime doesn't pay; but it's undoubtedly worth it to pay a few dollars to watch this unusual cop in action.
Final grade: A-
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